The Best Man by Gore Vidal is set during a fictional American election in 1960. Two gifted candidates seek their party’s nomination. Secretary Russell is a chilly but experienced political hack whose marriage is a sham. Senator Cantwell, a more attractive character, is an impulsive charmer married to a blonde bombshell who adores him. The show feels dated but the acting, the costumes and the set designs capture the period nicely. The plot is perhaps short of pace and density. Each character has an embarrassing secret to hide. Secretary Russell suffered a mental breakdown a few years ago. Senator Cantwell enjoyed a bisexual fling in the army. The action turns on their ability to keep these details hush-hush. These days, of course, each candidate would promote his colourful past by arranging a confessional interview in which he ‘bravely confronted his demons’. In all probability, the bisexual guy would boast of his mental-health problems as well, just to keep up with his rival.
Director Simon Evans gets top-notch performances from a starry cast. Martin Shaw plays Russell as a cold and bombastic pedant, and there’s a great turn from Jack Shepherd as a folksy statesman addicted to whiskey. But don’t expect any insights into the Trump ascendancy here. The script belongs to a forgotten age when corrupt, philandering politicians strove to appear high-minded and morally pure. Trump changed all that. Private solecisms are now regarded as public assets and every transgression is entered in the ledger as a sign of ‘authenticity’ which is the new form of probity.
The show has one glaring but accidental fault in that Maureen Lipman’s performance throws the evening off balance. She plays a Washington busybody, Mrs Gamadge, who arrives in Act One to explain to Senator Russell how to attract the female vote.

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